Recorded over a period of almost two years, this album is the first installment in a planned series of three. It could be described as a ritual of passage from the influential post-industrial trio Maeror Tri to its new incarnation as the duo Troum. The basic elements of Maeror Tri's sound have been taken apart and split into three categories: harmonies, drones, and rhythms. Of course, you cannot really isolate one from the others unless you decide to take a hardcore minimal path -- and that's not what Troum chose to do. The difference between harmony and drone is small, and you won't be able to make it out by comparing this album to Tjukurrpa, Pt. 2: Drones. The material does sound harmonically richer than usual, and one could suspect that some use of a just intonation system was involved, but beyond this subtle nuance the music remains true full-fledged Maeror/Troum music. Each track consists of a rich, slowly evolving drone made of guitar soundscapes and synthesizers. The opening "Wrota Sfer" takes 16 minutes to unfold its numerous sonic threads -- wherever you set your inner eye, there always seems to be more of them. "Skaun[ei]s" sounds surprisingly peaceful. The guitar even slips out of the drone to cut out a motif that hints at a melody. "Mada Shaunda" features a pounding rhythm of a tribal nature, which makes it stick out. Overall more serene than Tjukurrpa, Pt. 2: Drones or Maeror Tri's material in general, this album still provides an absorbing listen.
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AllMusic Review by François Couture